Language learning through music on the academic achievement, creative thinking, and self-esteem of the English as a foreign language (EFL) learners.

This study aimed to comprehensively analyze Language Learning through Music on the academic achievement (AA), creative thinking (CT), and self-esteem (SE) of English as a Foreign Language (EFL) Learners. With the rapid progress of technology, there has been a growing interest in exploring innovative teaching methods that not only enhance learning outcomes but also actively engage students in the language learning process. However, the specific impact of technology-enhanced language learning through music (TELLTM) on these language learning outcomes has received limited attention in previous research. In 2023, a sample of 360 male elementary-level language learners was selected using a multiple-stage cluster sampling (MSCS) technique. The participants' homogeneity was assessed through the Oxford Quick Placement Test (OQPT), administered following a random sampling procedure. Data collection involved the administration of three questionnaires: The academic achievement questionnaire, the self-esteem questionnaire, and the creative thinking questionnaire. The findings of the study analyzed through descriptive and inferential statistics, revealed a significant positive impact of TELLTM on the AA, CT, and SE of EFL learners. These results have important implications for educators, curriculum developers, and policymakers, providing valuable insights into the incorporation of TELLTM into English language instruction. The use of these three questionnaires provided valuable insights into the effectiveness of TELLTM in enhancing various aspects of language learning. These findings underscore the importance of incorporating music into language instruction and offer practical guidance for educators seeking to improve their teaching practices.

Using a music microanalysis protocol to enhance instrumental practice.

The strategies that enable musicians to adapt their behaviors so that they can break through, feel energized, and perform well collectively distinguish what it is to be a self-regulated learner. These strategies range from one's ability to monitor thoughts and actions to being able to navigate and control one's emotions, especially when feeling frustrated or anxious. Given the challenges of the music profession, it becomes imperative for teachers to equip their students with the necessary skills to self-regulate their own actions, feelings, and thinking so that they are eventually able to cope with the demands required of a contemporary professional musical career. In this study, we focused on the self-regulatory engagement of four master's level cellists who were enrolled in a prominent European higher music education institution. Our data comprised self-regulated learning-based diary-reports that describes the students' practice of self-chosen, especially demanding passages as they prepared for a public recital. Results depict differences between the musicians according to the efficiency of their practice leading up to a formal public recital.

Temporal resolution and pitch discrimination in music education: novel data in children.

BACKGROUND: Rehabilitation of hearing and listening difficulties through neuroplasticity of the auditory nervous system is a promising technique. Evidence of enhanced auditory processing in adult musicians is often not based on clinical auditory processing tests and is lacking in children with musical education. PURPOSE: The aim of this study is to investigate the temporal resolution and frequency discrimination elements of auditory processing both in adults and children with musical education and to compare them with those without any musical education. METHODS: Participants consisted of ten children without musical training and ten children with musical training with mean age 11.3 years and range 8-15 years as well as ten adults without musical education and ten adults with musical education with mean age 38.1 years and range 30-45 years. All participants were tested with two temporal resolution tests (GIN:Gaps-In-Noise and RGDT:Random Gap Detection Test), a temporal ordering frequency test (FPT:Frequency Pattern Test), and a frequency discrimination test (DLF: Different Limen for Frequency). RESULTS: All test results revealed better performance in both children and adults with musical training for both ears. CONCLUSION: A positive effect of formal music education for specific auditory processing elements in both children and adults is documented. Larger samples, longitudinal studies, as well as groups with impaired hearing and/or auditory processing are needed to further substantiate the effect shown.

Music motivation depends on what to motivate: research review of Gumm's music teaching and conducting models.

The history and philosophy of music education are traced with varied efforts to hone, enhance, and shift a strong tradition of performance-based instruction. The purpose of this study is to summarize the research of Gumm's empirical models of eight music teaching and six conducting approaches and their application in the profession across three decades toward varied philosophical aims. Each approach coordinates a distinct set of instructional and motivational behaviors toward a particular learning effect or outcome. Different balances of approaches reveal broader aims, such as performance, comprehensive musicianship, cooperative, discovery, and affective learning, or even basic on-task behavior. Broader yet are two overarching aims found in common to both music teaching and conducting-to control or release. Controlling music teaching asserts correct on-task behavior through clear task directions and corrective feedback, motivates attention to task nonverbally, efficiently fills time with active tasks, and clarifies and affirms positive learning. In contrast, cooperative group leadership releases interdependent learning, questioning fosters music concept learning, imagery and movement release artistry, and discussing unique perspectives releases independent ideas and feelings. In conducting, precise gestures control accurate timing, signals and alerts motivate attention, and mimicry of musician exertions controls physical tone production; whereas shaping of phrases and score markings release musical expression, psychosocially familiarized gestures foster interdependence, and tension-easing gestures release freer independent tone production. Control-oriented teaching is most prevalent across the field, yet links to greater burnout and appeals to accommodating students motivated by effort and ability more than students motivated by social and affective enjoyment of music. In conducting, music-oriented precision and expression are more prevalent than musician-oriented approaches. Releasing approaches are more prevalent in Western than Eastern culture, upper levels, early rehearsals well before concerts, smaller ensembles, competitive ensembles, and teachers and conductors with greater experience or varied movement training. Conclusive implications are that the key to motivation is to draw attention to specific and intentional forms of learning, and that whatever is motivated to attention also motivates a particular philosophy of music education. Future research is suggested in general music and ethnic, folk, popular, community, and professional music ensembles.

Mapping interdisciplinary collaboration in music education: analysis of models in higher education across North America, Europe, Oceania, and Asia.

Interdisciplinary collaboration is an emerging imperative in music education, but current understanding of global practices remains limited. Prior studies have focused narrowly on specific programs within limited geographic areas. However, there is minimal quantitative mapping of initiatives across institutions and regions. Contextual insights explaining regional variations are also scarce. Hence, this study aims to address these gaps by conducting a comprehensive analysis of interdisciplinary programs, partnerships, events, and publications across leading global music institutions using a mixed methods approach. The analysis reveals significant diversity in models and determinants of productivity across regions. For instance, while Europe leads in formal integration and research output, North America prioritizes technology-enabled innovation through media and emerging tools. Partnerships are ubiquitous but focus areas and curricular integration vary. The findings reveal significant diversity in interdisciplinary education practices and formats worldwide, implying a need for contextualized implementation aligned to institutional strengths rather than a one-size-fits-all approach. Therefore, as music education evolves, tailored interdisciplinary strategies that blend local priorities with global best practices are recommended to creatively nurture multifaceted skills and maximize potential for innovation. Thus, this research contributes an invaluable knowledge base to inform evidence-based, nimble policies and frameworks for cultivating cutting-edge, socially engaged musicians and ventures worldwide.

Modeling the predictive role of music teachers' job commitment and optimism in their sense of self-efficacy.

Introduction: Teachers' psychological factors have been argued to influence various aspects of music education. However, scant research has explored the psycho-affective aspects of music teachers' work. To solve this shortage of research, this study examined the predictive role of Chinese music teachers' job commitment and academic optimism in their self-efficacy. Methods: To this end, 340 music teachers from four universities in Henan Province completed an online survey including three questionnaires. Results: The results of structural equation modeling (SEM) and regression analysis demonstrated that music teachers' self-efficacy could be positively and significantly predicted by their optimism and job commitment. Discussion: The study provided implications for music education to pay further attention to the psychology of teaching in this field. Finally, directions for further research are presented to scholars, who are interested in the psycho-emotional side of music education.

Pop Music Singing in Education with Modern Innovative Technologies: How the Chinese Language Shapes the Creation of Popular Singing.

The purpose of this study is to investigate the uniqueness of the pop singing genre by determining the role of the Chinese language in the creation of popular singing in education with modern innovative technologies. The paper began by determining which types of popular music were the most popular among respondents and the influence of modern innovative technologies on music education. The results showed that popular folk music (25%) and popular music (23%) are the most popular genres. This is because they are based on improvisational elements and combine modern and ethnic musical elements with the use of modern innovative technologies. Pentatonic preservation (94.3), modern innovative technologies (91.2), expressive performance (85.6), sound fluidity and mobility (82) and instrumental accompaniment have been identified as the most defining characteristics of contemporary Chinese popular music (78.1). Taking into account how pure and expressive Chinese music is, the study found that singing should take into account the following aspects of the Chinese language: the tonality of vowels, the influence of consonant sounds, the use of sound imitations, the performance of words with different levels of complexity, and the relationship between speech and musical intonation. It has been proven that students in group 1 who studied vocals and were taught the rules for combining phonetic features of language when singing had better results in terms of quality performance (0.83) and expressive performance (0.91). The non-professional singers in group 2 attained scores of 0.62 and 0.85, respectively.

A developmental formative evaluation of a pilot participatory music program for veterans with housing insecurity.

BACKGROUND: Interventions are needed to improve well-being and promote community reintegration among Veterans with housing insecurity. The objective was to conduct a developmental formative evaluation of a participatory music program. METHODS: This single-site, pilot study implemented a participatory music program at a U.S. Department of Veterans Affairs (VA) Homeless Domiciliary that included one-hour sessions (group music instruction and ensemble playing), 3 times per week for 3 months. Intervention development was guided by the Model of Human Occupation (MOHO). Evaluation was guided by the MOHO and the Consolidated Framework for Implementation Evaluation (CFIR). Qualitative data were collected via semi-structured interviews from participants and non-participants, and were analyzed using an interdisciplinary, constant comparison qualitative analysis technique. RESULTS: Sixteen program participants and 8 non-participants were enrolled, age range 26-59 (mean 41; standard deviation, 11) years; 75% were White. The sample for this study (N = 12) included five participants and seven non-participants. Semi-structured interview responses produced three salient themes illuminating Veterans' perspectives: (1) key characteristics of the intervention (the relative advantage of the participatory program over other problem-focused programs; the importance of a supportive, encouraging teaching; the group setting; the role of music); (2) the therapeutic power of the program (based on it being enjoyable; and serving as an escape from preoccupations); and (3) the context and culture (which included Veterans supporting each other and the Domiciliary setting). CONCLUSIONS: Veterans described the benefits of a participatory music intervention compared to problem-based groups, which included enjoyment, skill acquisition facilitating pride, escape, reconnecting with their identity prior to current problems, and experiencing positive aspects of Veteran culture such as mutual support and discipline. These data support ongoing research about participatory music programs to support Veterans with housing insecurity.

Caring approaches to young, gifted music learners' education: a PRISMA scoping review.

This study reviews empirical research literature that deals with existing caring approaches to nurture and educate gifted children in music. The focus on the ethics of care stems from the need to expand notions of talent development in music from a purely behaviorist focus often associated with traumatic experiences, toward a perspective that addresses socio-emotional and cultural aspects of human development across the lifespan. We employed the Preferred Reporting Systems for Systematic Reviews and Meta-Analyses for Scoping Reviews method to review literature concerning caring approaches to the upbringing and education of children gifted for music. A total of 652 records dating from the 1930s and searched via both digital databases and manually in 41 relevant journals were retrieved from which 506 were examined using our inclusion criteria. A detailed analysis process allowed the authors to include 14 studies that were organized according to sampling location, methodologies, quality appraisal, and criteria-related topics. Eleven of the studies were qualitative with a majority of these employing semi-structured interviews for data collection, while the remaining meta strategy and quantitative studies typically employed questionnaires. Salient topics covered by the selected studies included: addressing inequalities in opportunity to access gifted programs; identifying socio-emotional needs of gifted (and twice-exceptional) students; offering a nurturing environment; focusing on intrinsic motivation; developing coping strategies for overall wellbeing; and cultivating healthy attitudes toward competitions through a spirit of peer collaboration and humility. These aspects were clustered into Francoy Gagné's Differentiated Model of Giftedness and Talent regarding natural abilities, environmental, intrapersonal, and developmental catalysts that are involved in nurturing talents in gifted children. Results suggest that the existing research on caring approaches to musically gifted children's learning and development are scarce and that current knowledge is based mostly on single one-off studies rather than systematic research, and on studies that examine a selection of aspects but not adopting a larger-scale theoretical framework. This review highlights the need for more systematic, multidisciplinary, and empirically robust studies on caring approaches to musically gifted children's learning and development, and for policy developments in educational settings where acceleration programs are offered for young, gifted music learners.

The Dynamics of Mastery Motivation and Its Relationship with Self-Concept in Music Education.

Musical education hinges on students' mastery motivation and self-concept, which are crucial for effective musical learning. Despite the acknowledgement of their individual importance, the relationship between these factors within music education remains unexplored. Hence, this study aimed to investigate the dynamics of mastery motivation (MM) and its relationship with self-concept (SC) in the context of music education. A survey was administered to 139 Hungarian grade 7 students, employing a musical MM questionnaire, a musical SC inquiry, and the collection of demographic information collection. We employed descriptive statistics (IBM SPSS 23), a Rasch analysis (WINSTEPS), and correlational and regression analyses (R programming and SmartPLS4) for data analysis. The findings demonstrated that the utilized instruments were reliable and valid in measuring students' MM and SC in music education. This study revealed a strong positive correlation (r = 0.778) between students' MM and SC, with moderate to strong inter-relationships among various subfactors. Furthermore, comparisons unveiled significant disparities in musical MM across school levels, with higher MM and SC observed among female students. Furthermore, gender, a musical family background, and awareness of musical lesson usefulness were predictive factors for both students' MM and SC within music education. This study provides valuable insights for professionals and policy makers to enhance music education, nurturing students' musical growth effectively. By understanding the relationship between MM and SC and considering predictive factors, stakeholders can develop strategies that optimize the impact of music education on students' musical development.

Teachers' approaches to music performance anxiety management: a systematic review.

Performance anxiety is a widespread issue that can affect musicians across their education and career. It can develop in musicians from a young age leading to short-term and long-term impacts on not only their performance, but also their wellbeing. There is potentially a significant role that music educators hold in the development of their students and how they handle performance anxiety, though it is not clear how, or how often, teachers support their students in this way. Through a PRISMA-based systematic review, this paper explores what is known about the strategies used by music educators to help manage their students' performance anxiety. The paper also discusses the role that instrumental/vocal tutors and school classroom teachers might hold in this area. The findings show that music educators are implementing multiple strategies to assist their students with MPA, with the most common being simulated performance, positive outlook, preparation and breathing. It was found that there is a role for teachers to address MPA management with their students. While some students prefer to receive MPA support from experts in the field of psychology, students still expressed a need to have this support come from their teacher. Though many teachers felt a need for additional training for them to help their students cope with MPA, many of the strategies were found to be multifunctional and embedded into the regular teaching practices or teaching styles of the educator. Although these strategies might be implicit rather than explicit, the findings suggest that music educators could represent a valuable source of support for MPA management.

Instructor experiences with online guitar lessons during the Covid-19 pandemic in Turkey.

This study aims to analyze the distance guitar education provided by universities during the pandemic process based on the opinions of guitar educators. Twenty-six guitar instructors (academicians) who taught guitar in 24 universities participated in the study, and the data were collected through semi-structured interviews. Findings were interpreted under five categories, which were technical resources, functionality, motivation, guitar studies, and evaluation. It was found that technical problems, for example, audio delays, disconnection, and freezing were encountered. Although technical issues on the guitar can be overcome to a certain extent, it was reported that works such as musicality, and nuance were not reflected in the course. It was also emphasized that the technological possibilities are insufficient in reflecting the depths of the sound coming out of the guitar, and individual instrument guitar lessons must not be considered separately from face-to-face education. It was concluded that distance education leaves out the emotional aspects of music, and distance education can continue to support face-to-face education in the future.

Innovations of music and aesthetic education courses using intelligent technologies.

Innovations in training programs impact the educational system and the level of students' professional abilities. Therefore, the purpose of this study is to investigate the use of innovative technologies in teaching music and aesthetics with the use of intelligent technology. Students from various music schools in Beijing participated in the study: elementary (112 respondents), middle (123 respondents), and high school (98 respondents) (areas: piano, violin, and percussion), a total of 343 participants. Assessment of the students' level of proficiency took place in several stages: comparing the students' level of proficiency with that they had before the experiment, for this purpose an average eight-point system was used. The next stage consisted of a comparison of grades for the final academic concert. The results showed that the greatest improvement was seen in the percussion class and the least in the violin class. Piano students showed an average result in the correlation comparison, but their level was the highest in the final academic concert, 48.55% of the students showed a level of skill above average. While 39.13% of the violin students scored "excellent" and "good". The same level among the students of "percussion instruments" was shown by 35.71% of the students. Thus, one can conclude that applying intelligent technologies positively impacts students' performance, but it is necessary to be careful in choosing applications and technologies for implementation in the educational process. Further research should be directed at the impact of other applications and programs on learning, as well as ways to improve other music education areas and how they can be changed by intelligent technology use.

Music, drama, and social development in Portuguese children.

Introduction: Social competence plays a fundamental role in children's development, and in their functioning at school and in life. Social skills, as learned behaviors that allow children to positively interact with others, are important for success in both academic and peer-group settings. Children's participation in collective music and other arts education has been associated with the development of social skills. However, different measures and diverse programs adopted in various studies make it difficult to contrast study findings. Additionally, research with children from low-income families remains scarce. The aim of this study was to examine the role of music and drama education programs in primary schools on the development of social skills of Portuguese children from disadvantaged communities. Both programs were carefully designed with performing, creating, and listening activities, and were delivered by specialist and experienced teachers/performers, who used active and participatory teaching strategies. Methods: In our longitudinal design with pre- and post-evaluations, we used the Social Skills Rating System or SSRS-Teacher Form, adapted for the Portuguese population. Classroom teachers rated their students' social skills on a 3-point scale in three domains: Social skills (Cooperation, Assertion, Self-control), Behavioral problems (Externalizing problems, Internalizing problems, Hyperactivity) and, on a 5-point scale, Academic competence. Results and Discussion: Our findings suggest that participation in music and drama programs during one school year improved children's assertion and self-control, and cooperation in the drama group. Participation in the music and drama programs also appeared to serve as a protective factor by reducing externalizing, internalizing and behavioral problems. These findings are discussed in light of previous studies along with limitations and directions for future research.

Investigating music teachers' ICT skills and technical possibilities in the field of online music education during the COVID-19 pandemic.

The effectiveness of music education depends on the personal interaction between teachers and students in the pedagogical process. The presence of the music teacher, the initial presentation of music, and the immediate correction are all essential in individual instrumental training and group-based music education [1]. In our study, we examined the ICT skills and technical possibilities which music teachers (N = 352) had at their disposal during the COVID-19 pandemic, compiled the Internet platforms they used in their teaching, and asked whether they produced their own teaching materials. By using factor analysis, we explored music teachers' attitudes towards online education and identified four factors, namely student-centred, digital virtuoso, digitally creative, and difficult-to-adapt factors. The change in the learning environment and in familiar methods presented new challenges to most surveyed music teachers, who were creative in adapting to the situation and in preparing suitable teaching materials for their students.

Building community through higher music education: a training program for facilitating musical engagement among older adults.

Preparing music students to design and carry out community-based initiatives can be an effective way to enhance their employability and their wellbeing. With a large body of evidence now pointing to the benefits of musical engagement for older adults, both for individuals and for society as a whole, there is considerable opportunity and value in training aspiring professional musicians to work with and on behalf of those in their third and fourth age. This article describes a seminar designed by a Swiss conservatoire in collaboration with local nursing homes involving residents and music university students in a 10-week group music making program. On the basis of the positive results to emerge in terms of health, wellbeing and career preparation, we aim to provide information relevant for colleagues to replicate this seminar in other higher music education institutions. Moreover, this paper aims to shed light on the complexity of designing music students' training so that they acquire the competences needed to deliver meaningful, community-based initiatives alongside their other professional training commitments, and to provide directions for future research. The development and implementation of these points could foster the increase and sustainability of innovative programs beneficial for older adults, musicians and local communities.

The influence of music education and sports psychology on students' anxiety / La influencia de la educación musical y la psicología del deporte en la ansiedad de los estudiantes

Music contains some folk culture, national culture, and foreign culture. This type of aesthetic gratification from music can instill in students the desire for self-actualization, which is crucial for enhancing their artistic talent and charisma. This investigation aims to determine the effect of music education and sports psychology on student anxiety. This information was taken from 200 college students randomly picked from a Chinese university. The findings of this study revealed that music education and sports psychology substantially impact student anxiety. The study concluded that a student's anxiety could be lessened by providing a suitable education. The study has theoretical ramifications that have realistically expanded the body of knowledge. In addition, the practical consequences of this study are essential for enhancing the sports psychology of students. There are also some future directions for this research.(AU)

Meaningful approaches to content selection and ways of working: Norwegian instrumental music teachers' experiences.

The Norwegian municipal schools of music and arts are publicly funded institutions which offer extra-curricular activities for children and adolescents in music and other art forms. The system is designed to ideally reach all children, but while each municipality is legally responsible for providing school of music and arts education for its inhabitants, the law does not state anything about teaching content or ways of working. Consequently, this is up to the teachers to decide. What is taught in these schools is, however, relevant to whether children feel included or excluded. This means that music teachers' beliefs and actions are among the factors that influence who will feel welcomed and who will feel alienated. On this basis, in this article we explore music teachers' approach to content-related decision-making processes by asking about their meaningful approaches to selecting content and ways of working within instrumental music teaching. To answer that question, we discuss what kinds of teaching content the teachers choose in general, as well as for beginner and advanced students, the reasons they express for selecting content, which, if any, music they find not to be suitable as teaching content, and how they work with the selected repertoire. We draw on empirical data from a survey among 151 music teachers and an interview study with 11 music teachers. Discussing results from these sources of data in relation to the Nordic and German music Didaktik theories, enables us to address meaningful approaches to selecting content and ways of working. From the analysis, we draw conclusions about what the music teachers experience as meaningful approaches. These can be summarized as (a) the centrality of the students in the process of selecting content; (b) genre versatility, meaning that students should be exposed to a broad range of musical genres and styles; and (c) that students are exposed to the "classical repertoire," or the standard repertoire within a genre or tradition. In general, what seems to be meaningful for the teachers is working "close to the student's wishes and preferences," but in ways that relate to a variety of Didaktik principles.

On Embedding Indigenous Musics in Schools: Examining the Applicability of Possible Models to One School District's Approach.

Recent curriculum policy changes in British Columbia (BC) require that educators in all subject areas-including music-embed local Indigenous knowledge, pedagogies, and worldviews in their classes. Yet facilitating such decolonizing cross-cultural music education activities requires knowledge that music educators may not currently possess. We use four models created by an Indigenous Arts scholar to examine the interface of Indigenous and Western art musics in performing arts settings: (a) integration, (b) nation-to-nation music trading and reciprocal presentation, (c) a combination of the first two models, and (d) non-integrative encounters that are in relationship but have irreconcilable elements. We consider the applicability of these models in music education settings, using them to analyze our findings from a study in which we explored the ways teachers have embedded local First Nations songs and drumming in classes in a single metropolitan school district in BC.